Spectacles against The Spectacle: Is a new politics of paradox emerging in British experimental theatre of the 2010's?

奇观对抗奇观：2010 年代的英国实验戏剧是否正在出现一种新的悖论政治？

• 批准号: 2100941
• 金额: --
• 依托单位: Royal Holloway University of London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2100941
• 关键词: Spectacles; against; Spectacle; new; politics

This practice-based PhD will identify and further a distinctively paradoxical vein of British theatre. It will do so in order to explore the political potential of this theatre, including performances by theatre-makers such as Tim Crouch, Lucy McCormick, Nigel & Louise and myself. Research will mobilise Guy Debord's The Society of the Spectacle (2014 [1967]), which conceives advanced capitalism as an overarching and trance-inducing Spectacle, as a lens through which to view performances. Experimenting within mainstream theatres, seeking popularity for political ends, and creating spectacles against The Spectacle in a theatre industry that epitomises both cultural margins and elite, these performances engage with myriad paradoxes of form and context. These may both seed and inhibit their political efficacy. To what extent might this theatre's political potency reside in its ability to deviously utilise the very paradoxical or even compromised nature it stands accused of in this self-critical project?By placing form at the heart of a cultural-materialist enquiry into political theatre, my project will address a significant gap in the current debate. Scholarly research will reassess received understandings of politicised theatre practices from the nineteen sixties to the present. It will then explore 'the political' in the work of salient contemporary theatre-makers, always asking how context (who is making and receiving performances, in what spaces governed by what social rules, and in what ways) impacts on form (close analysis of performances). My professional standing as an acclaimed experimental playwright operating at the borders of UK theatre's centre-ground, offers an ideal vantage point from which to practically address these questions. In close dialogue with scholarly research, I will create three professional performances that experiment with new forms and mainstream contexts through which to subversively enact spectacles. These include collaborations with communities (young people in Cambridge and Leeds, industrial workers in Teeside) and my first collaboration with a composer (Tom Parkinson).

这个以实践为基础的博士学位将识别并进一步发展英国戏剧的独特矛盾脉络。这样做是为了探索这个剧院的政治潜力，包括蒂姆·克劳奇、露西·麦考密克、奈杰尔和路易斯和我自己等戏剧制作人的表演。研究将利用盖伊·德波的《景观社会》（2014 [1967]），该书将先进的资本主义视为一种总体性的、令人恍惚的景观，作为观看表演的镜头。这些表演在主流剧院中进行实验，为政治目的寻求知名度，并在集中体现文化边缘和精英的戏剧行业中创造反对“奇观”的奇观，这些表演在形式和背景上陷入了无数的悖论。这些可能既会催生又会抑制其政治效力。这个戏剧的政治力量在多大程度上在于它能够巧妙地利用它在这个自我批评项目中被指责的非常矛盾甚至妥协的本质？通过将形式置于对政治戏剧的文化唯物主义探究的核心，我的项目将解决当前辩论中的一个重大差距。学术研究将重新评估从十九世纪六十年代至今对政治化戏剧实践的普遍理解。然后，它将探索当代杰出戏剧制作人作品中的“政治”，始终询问背景（谁在制作和接受表演，在哪些空间受哪些社会规则管辖，以何种方式）如何影响形式（仔细分析的表演）。作为一位在英国剧院中心边界工作的著名实验剧作家，我的专业地位为实际解决这些问题提供了理想的有利位置。在与学术研究的密切对话中，我将创作三场专业表演，尝试新的形式和主流背景，从而颠覆性地演绎奇观。其中包括与社区（剑桥和利兹的年轻人、蒂赛德的产业工人）的合作以及我与作曲家（汤姆·帕金森）的第一次合作。